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International Conference on Studies in Arts, Humanities and Social Sciences (SAHSS-2017) Jan. 31-Feb. 1, 2017 Bali (Indonesia)
The Concept of Tawhid in visual Artworks
Nuratikah Abu Hassan, Ponirin Amin and Suhaimi Tohid
When this situation is reached, there will exist a balance and
harmony on this earth, thus bring artistic values in the sense of
beauty, perfection and truth. This is the basis for the true
nature of art or even the cosmos, the existence of harmony and
justice in the complexity of behavior, speech, emotion,
thoughts and human intellect. Indeed, harmony and balance is
the essence of Tawhid or Unity of the Godhead to create,
manage and govern Islamic art the noblest and highest as
stated by Ismail al-Faruqi, "In Aesthetic is the expression of
Tawhid."
The idea of monotheism is an expression of the beautiful
values (idea of beauty) which is objective, transcendent,
mystical, and inexpressible, and the idea of beauty (idea of
beautifulness) that are subjective, expressive, and cultural
understanding. The thought of al-Faruqi shows that literary
arts, calligraphy ornaments, music, and the art of space are
inseparable from the monotheism in the Islamic worldview.
Similarly, Buya Hamka, Tawhid is a concept which symbolizes
the belief of monotheism in Islam who believes that God is one
Essence that creates controls and regulates the universe is
Allah Subhanahu wa ta'ala, called the rububiyyah God.
Rububiyyah faith is a belief that is recognized even by the
unbeliever. Indeed, faith as a way of life that is reflected in
every human action that is the goal of unity [1]. Thus, this
study is to identify the concept of Tawhid (the Oneness of
Allah) through visual artworks in Malaysia. On the other hand,
to analyze the selected samples of visual artworks, used the
theory of criticism by Edmund Burke Feldman (1980) to prove
the artworks, with principles of Islamic art; Tawhid concept.
Abstract—Before the coming of Islam, Malay societies professed
animism. These situations totally switched and transformed after the
advent of Islam that brought the concept of Tawhid (monotheism)
and this situation has shifted and have dismissed the concept of
polytheism. Starting with the concept of the oneness of God and the
worship of Islam has fascinated wide interest in the local community
and different field especially in visual art approaches. The concept of
the paper, alongside with its content, appropriate methods and
finding, is conceptual and philosophical. Therefore, this paper is to
identify the concept of Tawhid (the Oneness of Allah) through visual
artworks in Malaysia. Furthermore, to analyze the selected samples of
visual artworks in used a theory of criticism by Edmund Burke
Feldman (1980) to proven the artworks is stresses with a principles of
Islamic art; Tawhid concept. Qualitative methods are applied in this
study and it based on the process of gather the data analysis form the
literature within the context of Islamic art that focused on the concept
of Tawhid and interlink to the visual analysis artwork. Indeed, the
outcome of this study is to go in depth that visual artworks as a
medium for artists to bring the audience closer to the creator through
the concept of Tawhid
Keywords— Concept; Tawhid; Visual artworks
I. INTRODUCTION
Islam religion fundamentally controls the relationship
between man and God, man and man, and man and universe.
Islamic basic law which must be held by Muslim is based on
the Qur‟an and the Sunnah. Nevertheless, in respect to culture
and arts, the Islamic law would be flexible but still based on
the law of Islam, where the use of figurative art is prohibited
and not allowed in art and culture. However, a search for
Malay art values seems to have become a new dimension with
the Islamic revivalist.
The justification given for Malay proclivity / Muslim
community related to the presence Tawhid concept or „Unity‟.
For Malay/Muslim artists, the idea of Tawhid will brings a
peace as a true guideline to build of the community (Ummah)
or the perfect society with a trust and stability. One advantage
associated with the reconstruction of the spiritual realm are
stronger and more inward in line with world-view pertaining to
Islamic teachings inspired by 'magnificent' of a past Islamic
civilization.
II. METHOD APPROPRIATION
The research is based on broad approach:
1. To identify the Tawhid concept in visual artworks used a
theory by Edmund Burke Feldman (1980) (Analysis selected
visual artworks in Malaysia)
The investigation of the particular objective consists of the
following steps as outlined below:
Nuratikah Abu Hassan, Faculty of Art & Design, MARA University of
Technology, 40450 Shah Alam Selangor, Malaysia, [email protected]
Ponirin Amin, Faculty of Art & Design, MARA University of Technology,
40450 Shah Alam Selangor , Malaysia, [email protected]
Suhaimi Tohid, Faculty of Art & Design, MARA University of
Technology,
40450
Shah
Alam
Selangor
,
Malaysia,
[email protected]
https://doi.org/10.17758/EIRAI.F0117454
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International Conference on Studies in Arts, Humanities and Social Sciences (SAHSS-2017) Jan. 31-Feb. 1, 2017 Bali (Indonesia)
of human cycle life, we are created from God and when we
death we will return to Him. In the same way, this apparently
simple formula forms the dividing line between Iman (true
belief in God) and Kufr (disbelief), because of this principle of
Tawhid, the Islamic belief in God is considered to Unitarian
and Islam counted all over the world‟s monotheism religion.
Indeed, the principle of Tawhid is profound that needs further
explanation even among Muslims [6]. Obviously, three
categories of Tawhid are commonly referred to by the
following title which is Tawhid ar-Rububiyah (“Maintaining
the unity of Lordship”) that is, affirming that Allah is only the
one, without partners. Second, Tawhid al-Asma, was-sifat
(“Maintaining the unity of Allah‟s names and Attributes,”) that
is, affirming that they are incomparable and unique. The last,
the Tawhid al-Ibadah (“Maintaining the unity of Allah‟s
worship”) that is affirming that Allah is alone in His right to be
worshipped. The Qur‟an is clear on Allah‟s Oneness in the
Surah Al-Ikhlas (Verse 112 in Holy Qur‟an) means “Oneness”
the means every verse of Surah means 1: He is Allah (who is)
One, 2: The called upon, 3:Who has not given birth, and has
not been born, 4:There is none equal to Him [7].
To discuss the concept of Tawhid according to Islamic philosophy
Review of related Literature
Identify the concept of Tawhid in Visual
artworks
To describe, analysis, interpretation, and judgment- Selected Visual
artworks (Theory Edmund Burke Feldman)
Finding and Conclusion
Fig. 1 The flowchart that shows the methods and process.
III. ON THE CONCEPT OF TAWHID
a) Tawhid Concept (God’s Oneness) in Islamic View
The concept of tawhid (also called Tawheed and Tauheed)
which the most significant element in the Islamic arts. Tawhid
means stressing the concept of unity or oneness of Allah.
Based on the concept of Tawhid, Muslims have faith in that
God cannot be held equal in any way or grade to any other
being or concept, He only One and deserve to be worshipped.
It is obvious by the pronouncement of the Shahadah in
Islam“La ila ha illa Allah” which means (there is no God only
Allah) the Oneness of God. Similarly with the view by the
great scholar of Islam, Ibn al- Arabi mentioned that Allah has
stated thirty-six times in the Holy book of Qur‟an, He is the
only truly divine God (Tahwid). Thus, anyone who puts his
faith and trust in Allah filled with the names and attributes it
will receive blessings from Him [2].
Geometry is an important design in the Islamic
architecture. Particularly, in the Islamic designs, geometry
represents the principles of harmony, order and beauty. It
obviously exists in the design of plans, façade, ornament and
patterns. It expresses many concepts of Islam for instance the
unity and the Oneness of Allah the perfection and the infinity
of creation in the universe, the containments and the continuity
[3]. Study by [4] mentioned that, the similar finding about the
implication of Tawhid in the Islamic architecture has
symbolizes the identity Islamic architecture are conspicuous
and touch on the beauty of the soul.
c) Concept of Tawhid in Visual Artworks
Geometrically structured two dimensional decorative
patterns consisted not only of abstract geometric shape, but
included inscription and vegetal designs organized according
to rules of regular geometry. In addition, these design of motifs
clearly appeared on the Malay/Islamic art. The previous study
by [8] has pointed that the basis and the determining factor
underlying the Malay traditional art is based on the concept of
Tawhid, Oneness of God and a Unity, which subsumes
diversity, variety and multiplicity. On the other hand, she also
addressed the attitudes of the Malay craftsman in woodcarving
towards reality, philosophy, aesthetics and the creative
process. In study Jihad in the context of visual arts, explains
that Al-Quran provides guidance and guideline to mankind
where its completeness contains high dignitaries value
incomparable to men‟s creation. “Allah is beautiful and He
loves beauty” (Hadith Bukhari) the effort to revive art
according to Islamic perspective measured as “Jihad” in the
journey to identify beauty and to get closer and know Allah
[9]. Indeed, art considered as a something that has aesthetic
values, in Islamic art is constituted to Allah is defined as a
beauty.
The teachings of monotheism or unity in Islam
preferentially expressed in various stages of human life as the
unity of humanity, the unity of the universe, the unity of human
civilization and unity of the human race. The concept of
monotheism has implications to our lives as human beings,
both at the individual and society, the arts field also has the
concept of unity of faith which brings artists to get closer to
the sentiments of Islamic. In creating artworks it is understood
that Islam forbids such forms, because to uphold the most
sublime idea, the Tawhid concept (unity). Therefore, how can
we express the idea of unity in the visual artworks? One
approach that is emphasized in Islam is through geometry.
"Geometric expression" happens to be one of the simplest
expressions of unity in the cosmos. Therefore, it is said that
b) Character and Characteristic of Tawhid Concept
Islam is founded on Tawhid, the unity of God, monotheism
as generally known in the West and it is often repeated in the
holy Quran as the fundamental doctrine of Islam. Furthermore,
in bringing out the characteristic features of Islamic
monotheism in perspicuous terms, Tawhid or Islamic
monotheism is expressed in a formula called al-Shahadah “La
ila ha illa Allah” (there is no God but Allah [5]. Islam put
absolute emphasis on the unity of God and everything else
revolves round this centre and derives from it. It begins with
God and ends in Him. In addition, this related with the process
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International Conference on Studies in Arts, Humanities and Social Sciences (SAHSS-2017) Jan. 31-Feb. 1, 2017 Bali (Indonesia)
V. PONIRIN AMIN
Islamic art is more on mathematics, physic, especially
geometry. In the analysis of selected artworks has found that
most of Malay/Islamic artist used a Geometric shape to show
the concept of Tawhid (Oneness of Allah).
Parallel artworks bring a Tawhid concept by Ponirin Amin,
the famous Malaysian artist in Printmaking, through his
artwork Yasin (1989), the artist is sensitive and aware with the
Godhead issues. Clearly, in his artworks, he is strive to give
the awareness to the people especially the Muslim about the
Holy book of Qur‟an, as human one day will return to our
creator (death). Indonesian artist, AD Pirous, [11] mention that
human life is dividing into three stages, the first one is the
birth, the life and the last is the death. The concept of
geometric pattern is much closed with the concept of Malay/
Islamic values. For instance, the form of geometric pattern is
arranged in harmonious composition to relate with the rhythm
of dhikr form in abstract expression. Indeed, the geometric
shape represents Tawhid concept (the oneness of God) and
Unity through the cubic shape, the image of Kaaba (Holy
Kaaba). In addition, the image of calligraphy words from the
Surah Yasin (verse 2-4).The meaning of the verse is:
IV. SULAIMAN ESA
Sulaiman Esa known as Islamic artist with convey the
elements of Islamic arts in his artworks. Through artworks
„Mahsuri II in Figure 1 embraced the traditional Malay
aesthetic principles such as refinement, contrast,unity, useful
and symbolism pointed by Zakaria Ali, theory of Malay
beauty concept (1989) inspired by the „kepala kain‟ (main
design) of a sarong, refer to Figure 3, decorated with bamboo
shoot motifs in striking colours employing Malay aesthetic
principles with colourful ornamentations as the core of the
spiritual expression embedded in the final form of the art.
Obviously, the bamboo shoot motifs in triangle shape are
represented the concept of unity that stresses in the Malay
traditional art such as woodcarving, batik, and songket. The
bamboo shoot (Pucuk Rebung), the geometric patterns created
with hand-made paper, metal threads and bamboo are
reminiscent of decorations of Islamic architecture or
traditional batik motifs. Indeed, the artwork is represents a
fusion of Islamic Malay tradition and western modernistic
abstract painting. On the other hand, it symbolizes the Tawhid
concept through the representations of the geometric shape in
the artworks. [10] Explained that the main factor contributed
to the most significant transformation in traditional Malay art
was the Islamic concept of tawhid (Oneness of Allah) as
embodied in the proclamation of the Al-shahaadah, (There is
no God the Ultimate and Absolute Reality who is transcendent
and inexpressible.
Verse 2: In the Qur'an, full of wisdom
Verse 3: indeed thou (Muhammad) was one of the Rasul
Verse 4: on the straight path
The artist wants the audience to think and appreciate the
verses of the holy Quran that are in the artwork. It does not
only look beautiful, but it also can attract Muslim audience to
embrace the work and indirectly those who know the Surah
will directly to read it. Indeed, it is bring the audience get
closer to the Almighty (Allah S.W.T).
Fig. 2: Yasin (1989), Ponirin Amin, Silkscreen.
Fig 1: Sulaiman Esa, „Mahsuri II‟, mixed media. (Source: collection
of Fukuoka Museum, Japan.)
Fig. 2.1: The close up image geometric Cubic form
VI. SYED AHMAD JAMAL
The triangular shape has become a symbol that can carry
various meanings according to its position in the structure of
the composition. The famous Malaysian artist, Syed Ahmad
Jamal in his artwork Semangat Ledang (1999) in Figure.3,
constantly used the geometric form which is triangle shape.
Obviously, it also symbolizes the stage of Muslim human life
that consists of seven layers of sky and earth, related with the
Fig 1.1: Motif Pucuk Rebung in Sarawak Songket. The image is
gather from the Muzium Textile Kuala Lumpur. Photo by Nuratikah
Abu Hassan, 2015.
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International Conference on Studies in Arts, Humanities and Social Sciences (SAHSS-2017) Jan. 31-Feb. 1, 2017 Bali (Indonesia)
[2]
Badron, M. S. (2012). Ibn Al-'Arabi on Affirming the Oneness of
Allah's Divinity (Al-Tawhid). Jurnal Akidah dan Pemikiran
Islam, 11(2010).
[3] Mazlina, M. A. P. D. (2011). Tawhid and its Implications for Islamic
Architecture. Journal of Architecture, Planning and Construction
Management, 1(2).
[4] Spahic, O. (2012). Tawhid and its implications for Islamic
architecture. Journal of Architecture, Planning and Construction
Management, 1(2), 21-35.
[5] ḤAQ, M. A. (1983). The Perspective of At-Tawḥīd. Islamic
Studies, 22(3), 1-19.
[6] Philips, A. A. B. (1989). The fundamentals of tawheed (Islamic
monotheism). Islamic Books.
[7] Lamprecht, M. A. (2014). Exploration Of The Similarities Between The
Unity Of Allah And The Unity Of The Triune God Of The Bible.
[8] Basaree, R. O. (2003). Art, Mathematics & Philosophy: A study of the
geometrical and cosmological principles in traditional malay art and
design.
[9] Daud, S. A. B. W. M., Zain, D. H. B. M., & Rahman Bin Amin, W.
(2014). Study on the Malaysian Islamic Visual Art: The Contemporary
View. International Journal of Education and Research, ISSN: 22016333.
[10] Sanusi, K. (2016). Encountering globalisation: the work of Sulaiman
Esa from the 1950s to 2011. WIT Transactions on The Built
Environment, 159, 23-34.
https://doi.org/10.2495/IHA160031
[11] (Pirous. A.D, Personal Communication, November,8, 2015)
[12] Abdullah Muhammad (Nakula). (1978). Falsafah dan pemikiran orangorang Melayu: Hubungannya dengan Islam dan Kesenian, Kuala
Lumpur: Kementerian Belia dan Sukan.
seven layers of heaven. Furthermore, the triangular shape in
the Semangat Ledang also synonym with Malay traditional
motifs: Pucuk Rebung (bamboo shoot). This motif constantly
used in the design and ornament Malay traditional arts, for
instance, in woodcarving, batik and songket. [12] mentioned
that, Pucuk Rebung motif reflects the knowledge and the
cosmological belief of the Malays about the spiritual world
and the real world. Furthermore, these particular motifs would
always pointed to one (Oneness of God) concept of Tawhid,
the major components in Islam which is Sufism. The definition
of explains that a spirit is something intangible that is the
opposite of corporeal form.
Fig. 3: Semangat Ledang (1999), Syed Ahmad Jamal, Acrylic on
canvas.
VII. CONCLUSION
To sum up, in all over the world, the combination of three
main types of ordinary matters for instance, calligraphy,
vegetal motifs and geometric patterns usually used in the
decoration of Islamic architecture. Indeed, a message in Islam
is expressed through a created art language. Therefore, in the
visual artworks, shapes, symbol and meaning is best carrying
the concept of Tawhid. Moreover, the representation of
geometric shape is the one that constitute Oneness of Allah
and unity. Clearly, the holy book Qur‟an, al-Hadith and nature
(physical realm) becomes the root centered and main
references for the artists in produce artworks that related with
the Islamic notions. Everything starts from the understanding
and appreciation of all the three. Al-Quran and the physical
realm is proof of the Greatness of Allah the Creator. The
selection samples of visual artworks that has been analyze is
identified and proven that the concept of Tawhid is applied in
these visual artworks to expressed Oneness and Unity towards
Contemplation to the One God (Allah) through the symbols of
Geometric shape.
ACKNOWLEDGMENT
The authors would like to acknowledge Mara University of
Technology (UiTM) and the people who have been helping
throughout this research study. Special thanks goes to National
Visual Art Gallery Malaysia, National Archive, Gallery Shah
Alam, State of Museum Terengganu Malaysia, and other
public and private gallery located in Malaysia.
REFERENCES
[1]
Idris Saputra, N. I. M. (2014). Konsep Tauhid Dalam Padangan Haji
Abdul Malik Karim Amrullah (Buya Hamka) (Doctoral Dissertation,
Universitas Islam Negeri Sunan Kalijaga).
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